Stonehenge

source: designboom

markus georg is a berlin-based photographer who has created a series of images that recreate famous
postcard sites using an array of people and everyday objects. the series features environmental
landmarks like the matterhorn in switzerland, urban sites like the skyline of frankfurt and historic
events like september 11, 2001. the series of photographs stands on its own, but is made even more
intriguing when paired with its real life equivalent. georg intended the images to be used on the front
of 4×6 inch post cards calling our perceptions of these iconic scenes into question.
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source: lostateminor

Close your eyes and picture the sprawling New York skyline for a moment. That’s it. Get a mental image locked in of the scale and grandeur of it all. Now open your eyes and stare at the photo in front of you. What do you see? A spindly collection of odds and ends or that very same skyline? The latter? Yes, Markus Georg has a remarkable ability to recreate legendary landmarks using the most benign of household objects. It’s all done for his brilliant series, Die Macht Der Bilder — or The Power of Photos.
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source: markusgeorg

DIE PHANTASIE HAT IN DER HEUTIGEN, TOTAL EMPIRISCH AUFGEFASSTEN WELT AN GESELLSCHAFTLICHER AKZEPTANZ VERLOREN. IHR VERKOMMEN HAT EINE UNFÄHIGKEIT DER BETRACHTUNG VON BILDERN ZUR FOLGE, DIE SICH IN EINER GLEICHSCHALTUNG ALLES VISUELLEN ÄUSSERT. BETRACHTUNG ENDET GEDANKENLOS AN VISUELLEN OBERFLÄCHEN, DAS EVENTUELLE ERKENNEN EINES DAHINTERSTEHENDEN SINNES FINDET KAUM NOCH STATT. DIES IST ALLERDINGS KEIN ZEICHEN VON UNFÄHIGKEIT, VIELMEHR HANDELT ES SICH HIERBEI UM EIN VERLERNEN AUS ERMANGELUNG AN HERAUSFORDERUNG. DIESE ARBEIT SOLL DIE PHANTASIE RESOZIALISIEREN. DENN DIESE IST EINE GRUNDVORAUSSETZUNG, SOWOHL FÜR DIE KÜNSTLERISCHE PRODUKTION, ALS AUCH FÜR DEREN REZEPTION. DER PHANTAST IST KÜNSTLERISCHER PRODUZENT UND/ODER REZIPIENT. PHANTASIE MUSS WIEDER BEWUSST ERLEBT WERDEN. DER HOHE WIEDERERKENNUNGSWERT DER MOTIVE, SOWIE DER UNGEZWUNGENE UMGANG MIT POSTKARTEN, SCHAFFEN VERTRAUTHEIT. ÜBER DIESE SOLLEN PHANTASIE ZUM EINEN, ABER AUCH DER EINSTIEG IN DIE BETRACHTUNG ZUM ANDEREN ERREICHT WERDEN. DENN WIE OFT VERHINDERT FALSCHE INTELLEKTUELLE DISTANZ EINE “FREIE” REZEPTION? UND NUR WER BEWUSST WAHRNEHMEN KANN, IST IN DER LAGE AUSGEWOGEN ZU BETRACHTEN.
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source: markusgeorg

IN TODAY’S WORLD, WHICH PEOPLE SEE IN TOTALLY EMPIRICAL TERMS, IMAGINATION HAS LOST SOME OF ITS SOCIAL ACCEPTANCE. ITS DECLINE HAS RESULTED IN AN INABILITY TO OBSERVE IMAGES THAT IS EXPRESSED IN A CONFORMITY OF EVERYTHING VISUAL. OBSERVATION ENDS THOUGHTLESSLY AT VISUAL SURFACES WITH HARDLY ANY RECOGNITION OF A MEANING BEHIND THEM. YET THIS IS NOT A SIGN OF INAPTITUDE, BUT RATHER OF HAVING FORGOTTEN HOW FOR WANT OF A CHALLENGE. THIS PROJECT IS DESIGNED TO RESOCIALIZE IMAGINATION, A FUNDAMENTAL PREREQUISITE BOTH FOR PRODUCING ART AND FOR ITS RECEPTION. THE IMAGINATIVE PERSON IS A PRODUCER AND/OR A RECIPIENT OF ART. IT IS NECESSARY TO EXPERIENCE IMAGINATION CONSCIOUSLY AGAIN. THE HIGH RECOGITION VALUE OF THE MOTIFS AND THE RELAXED AND INFORMAL USE OF POSTCARDS CREATE FAMILIARITY. THE AIM IS TO TRIGGER THE IMAGINATION ON THE ONE HAND AND TO CREATE ACCESS TO OBSERVATION ON THE OTHER. HOW OFTEN IS FALSE INTELLECTUAL DISTANCE AN OBSTACLE TO “FREE” RECEPTION? YET ONLY SOMEONE CAPABLE OF CONSCIOUS PERCEPTION IS CAPABLE OF BALANCED OBSERVATION.
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source: designerblogit

L’artista tedesco Markus Georg ha rivisitato i più celebri paesaggi monumentali della storia di tutti i tempi in una chiave certamente insolita. La porta di Brandeburgo, la Tour Eiffel e Stonhenge, tra gli altri, diventano inediti panorami domestici riallestiti attraverso una nuova geometria di persone e oggetti quotidiani.

Una sorta di trompe l’oeil domestico che non resiste al fascino, peraltro molto realista, di scelte scenografiche molto cheap. Tra le cartoline, anche una live performance che riallestisce una sorta di 11 settembre casalingo.